There’s something we might be overlooking in our character development as writers.
We all know about character arcs. Characters need to change over the course of a story. When I received my developmental edit letter for Rock of Ages, my editor conveyed that even the jerk boyfriend in my story needed to have more depth, to show an arc. It could go downward, certainly, but he needed to change. Protagonists certainly have to learn or grow or change in some way. In good writing, all of the characters have arcs and end up at least a little different by the end of the book.
But what about the children?
I’m not talking about children’s or young adult books, obviously. So many of those authors are amazing at creating complex characters and showing these characters grow, learn, develop, and change. I’m talking about books written for adults with adults as the main characters but that have children as supporting characters. It’s hard enough to think of adult fiction that features kids meaningfully, which is strange because there are a lot of kids around us, but it’s even harder to think of examples of adult fiction with kids who show growth and change over the course of the book.
Children in books should not function only as accessories or a plot device. Children are just as complex, have just as much depth, as adults. More importantly, they change a lot faster. Their development happens simply as a matter of time– it doesn’t depend on external circumstances.
So here are some tips for adding complexity to young characters in an adult-centric book.
Read About Child Development
The human brain is amazing and the ways we develop early on are absolutely fascinating! How much time passes in your book? How old is the child in your book at the beginning and how old are they at the end? Do some research! Read about child development at those ages. Demonstrate those changing abilities in your writing. Maybe at the beginning of the book a baby doesn’t understand object permanence and cries whenever her mother leaves the room but by the end, she understands she’ll return shortly. Maybe a child who doesn’t grasp the difference between fantasy and reality is starting to comprehend this by the end.
Talk to a Kid
If you’re writing about a child but haven’t spent much time with one their age, see if you know one you can visit or speak to on the phone. Take note of their mannerisms, pronunciations, and sentence structure.
Let Them Surprise You
Kids in books can do things that would be more out of character for adults because they are changing constantly. Just because a child in a book sleeps with the lights on every night for the first half of the story doesn’t mean they can’t suddenly decide to turn them off. A five year old who is outgoing may become a five and a half year old who is more reserved. I’m not saying to make your young character do whatever you want. They should have a personality and mannerisims and tendencies, but they can diverge from those more easily than you could get away with with an adult character. You can have the adults around them react with surprise, astonishment, or reflection to highlight this difference.
Read Good Kids
Get inspired by books with good young characters. This may mean reading children’s, middle grade, or young adult books, but try to find adult-centric books as well. I recently read Sing, Unburied, Sing by Jesmyn Ward and was impressed with the character Kayla (or Michaela, depending on who you ask.)
Oskar of Extremely Loud and Incredibly Close is a fantastic character, though this book is a little different since he’s the protagonist. Jonathan Safran Foer does this well in another of his books, Here I Am, too, in which the kids are secondary characters but still complex.
I have a hard time thinking of other good examples, which might show what a gap there is. What have you read with good kid characters?
We know it’s possible to have too little description in our writing but what about having too much? Today we have a guest post from Pagan Malcolm on finding the perfect balance.
Description is one of the first things you learn about when learning to write stories in school.
My teachers always encouraged us to use adjectives and to avoid the word ‘said’—resulting in stories from my peers that probably could have rivalled dictionaries.
It appears that good description is something a lot of people struggle to write and teach—and funnily enough, description always seemed to be my downfall when it came to querying.
The very first time I queried my novel, Lanterns In The Sky, I got a knockback from the publisher (Lycaon Press). They liked the story, and they were interested—but they wanted to see if I could add more description first.
So I went ahead and did that, and they accepted the manuscript.
This was back in 2014—I was 17 years old, still in high school, and it must have been maybe the 8th or 9th draft of that book I’d been working on.
I quickly discovered, going through this process, how much of a difference adding more description made to my story. There were missing actions that needed describing, settings that needed more support, and other various areas that needed tightening up.
After the company went bankrupt, three more years passed, and about 10 more drafts went by before I got my second point of interest from The Parliament House. However, this time, they wanted less description.
So I went back to my story, toned a lot of it down—and they accepted the manuscript.
Once again, these changes made a massive difference to the (now) 18th draft of the story. There were parts where I’d repeated actions unnecessarily, times where the descriptions dragged on almost poetically, and parts where the description killed my most tense scenes.
So, this raises the question: what should writers aim for when it comes to descriptions?
I’ve outlined a couple of points from what I’ve learned from my experiences to help aspiring authors with this tricky aspect of writing:
- Make sure everything is explained clearly
For example, if a character is approaching, note their footsteps, or have another character detail how they enter the room.
The worst thing in a novel is choppy, jumpy scenes where characters appear out of nowhere, and the only indicator that they’ve joined the scene is their sudden dialogue.
Also, pro-tip: Just because you can see everything happening, doesn’t mean the reader can.
- When it comes to describing settings, choose the most important aspects for that scene
For example, if you want to describe a busy, bustling city—detail the skyscrapers, the hordes of people, and the beeping cars to help the reader visualise it. You don’t need much more for them to get the picture, and you don’t need to describe everything down to a tee.
- Action scenes need to be quick and fast paced
Think punches, scrapes, and describe what they’re feeling instead of detailing orchestrated fight sequences that last for pages and pages. You’re not teaching a karate class, you’re telling a story.
- As for emotional scenes, dig deep into your character
Get clear on character expressions, body language, and the sound of their cracked voice, their pounding heart, their heavy, dragging footsteps, etc.
Think about how you can describe what’s happening both externally and internally, in a way the reader can relate to.
- Spend some time practising your writing and creating a distinct, writing voice
For example, my writing style is very melodic and poetic at times, but can also be light-hearted and fun, or dark and mysterious. Each of these aspects of my writing usually result in different descriptions—they can be metaphorical, or they can be to the point.
When it comes to tightening everything up, you want to be clear on the kind of voice you want to put out there so that you know how to go about editing your descriptions.
I knew I wanted to keep the poetic side of my writing, so I was very careful in how I cut down and changed prose. Even if it didn’t read quite as poetic, the point still got across—and it read a lot smoother after some editing.
Overall, balanced description is just about knowing when to expand on, and when to condense your prose. Key indicators to help you figure this out will be the type of scene, the people and actions involved, and whether you’re deep into the scene already or just ‘setting the scene’, so to speak.
What do you struggle with most when it comes to writing description? Drop a comment below and let us know!
Pagan is the YA fiction author of The Ryan Rupert Series and The Starlight Chronicles Series. She is also a writing coach & business strategist for Paperback Kingdom.
I’ve always been a responsible person. I was a conscientious student from preschool, completing extra worksheets at home with my mom just because I wanted to. This personality train persists today, and is essential for my success as a writer. After all, no one is telling me I have to write a blog post each week other than me. No one has set any deadlines for the rewrite of my novel. It would be next to impossible to write without some amount of self-directed motivation and accountability, and though these seem to come naturally to me, I know they’re really hard for some people. I decided to intentionally consider the roots of these habits and how I cultivate them.
At the heart of all of it, is motivation. If you don’t know why you’re writing, you won’t keep writing. For me, it’s a few things: Stories come up from somewhere inside me and I can’t think about anything else until I get them out. The stories need to be told. I want to be recognized as a writer– to have people read my work and be moved, to feel like it speaks to them. I want to hold my own books in my hands. And of course, now that people are waiting for my book, the desire not to disappoint them is a motivator too. If you don’t know why you write or paint or study, or do whatever it is you’re trying to do more of, spend some time thinking about it. Verbalize it. Imagine it. Really let yourself picture what it would feel like to achieve it. Studies show our brains respond the same way to things that are vividly imagined as they do to things we really experience. Get used to the feeling, so that it really feels possible, and come back to it any time your motivation is low.
I give myself deadlines and I treat them like external deadlines. I only let myself compromise on them in rare circumstances. Writing down goals is essential for me. I write “write” in my planner every day and cross it off when I meet my goal. If something comes up and I don’t get to my 1000 word goal in the morning like I planned, I stay up that night until I do, even though I’m the only one checking. Investing in yourself requires holding yourself accountable. Don’t give yourself excuses. That being said, make sure your goals are reasonable. They should be challenging yet realistic. If it’s a struggle to meet them every day, they’re too difficult. If you’re meeting them easily every day, they aren’t hard enough.
Don’t be afraid to bribe yourself. Before I started the rewrite for Rock of Ages, I made a list of milestones in the book and how I would treat myself when I reached them. Everything from coffee at your favorite place to bigger gifts can do the trick.
Is self-directed work hard for you? How do you keep yourself motivated and accountable? What would you do if you could just make yourself do it?
Phil Rood is someone you should know.
He is an illustrator out of Florida, and his work is marvelous. He is a master of body language, and each individual illustration of his tells a story. In my adventures as a writer, I’ve stumbled across uncountable talented people. Phil Rood’s talents left an impact on me almost immediately. He was recommended to me by fellow authors Rick Heinz and J.F. Dubeau, and so I started following Phil’s Facebook page. I recommend you do the same.
Not only are Phil’s illustrations carefully detailed and just downright fun, but the man is a study in dedication. He illustrates every single day and posts his work for all to enjoy. Often he will post videos of his illustration process using Facebook’s live feature, putting himself on the spot without hesitation.
He has a website (which I encourage you to access by clicking here) where you can peruse his portfolio, check out his latest creations, and purchase his books as well as individual hand-drawn works. Not only is he talented, but he is also an easy fellow to talk to. And he responds to any fan comments or questions with great efficiency. I had the pleasure of interviewing him. I hope you enjoy the result. A few of his works and a video of his process can be found below.
When did you first discover your love of illustrating?
Probably around 12 years ago when I finally got around to going to college. I’ve always drawn, but when I went to school and studied graphic design, I started to really see the ability for me to practically apply drawing and illustrating.
Who are some of your greatest influences?
Bill Watterson and Gary Larson influenced me early, both in aesthetic ways and in the way their art carried so much humor. Stylistically, I’m influenced a lot by comic artists Jake Parker and Skottie Young and illustrator Ralph Steadman, who is able to cram so much energy into his drawings that they practically move on their own. That’s the kind of thing I keep looking for. From a career overview, I think comedian Marc Maron has been very influential to me as well. He’s spoken a lot about how he found success by not trying to please everyone, by staying true to his voice, and letting his audience find him. I think there’s a lot to be said about that and I’ve tried to walk that line.
Do you have a favorite illustration or story that you’ve completed?
Generally, my favorite illustrations tend to be whatever is most recent. I’m constantly trying to improve and if I’m doing it right, I’m happiest with the newest thing off my desk. There are some that have stuck with me over time as being favorites, like a drawing of three demons I drew for my “Monster Alphabet” series. They are modeled after my three sons. As for stories, I recently finished a really simple 14-page comic called “Sally” and I’m very proud of a lot of the work I did in that.
Give us an idea of your process from concept to complete.
I basically do a couple rough sketches of an idea to try to get an idea of composition and how it’s going to be executed. After I’m happy with that, I pencil the drawing on a sheet of Bristol, then I ink right over top of it. That’s it. The entire process is pretty laughably simple, but keeping things simple is pretty key for me. If I’m doing a longer form project, like a comic, it gets a bit more complicated, but that’s just because there’s more things than drawing going on.
Storytelling, pacing, layout, and visual storytelling with clarity all have to be taken into consideration. The entire comic/book gets planned out in sketch form, just like I would do for a single illustration. It’s pretty much the same process on a bigger scale. When the actual drawing is done, I scan it in, usually at a healthy 600dpi, and open the scan in Photoshop where I can clean it up and get a nice, clean high-resolution bitmap version of it.
Do you have a routine or do you wait for inspiration to strike?
I tend to be of the school of thought that thinks if you sit around and wait for inspiration to strike, you’ll be staring at a blank piece of paper for weeks on end. You have to draw something every day, even if it’s a 5-minute sketch. If that’s all the time I have, then I put all the effort I can into that 5-minute sketch, but I do it and it’s something I stress in the classes I teach.
Do your illustrations inspire your stories, or do your stories inspire your illustrations?
There’s no hard and fast rule for me either way, but I’d say the tendency is for a drawing to inspire a story, which in turn spawns more drawings, whether that be a written piece or a comic. The initial drawing may just be a character or vehicle I sketch or scribble, but it’s enough to get the ball rolling. Sometimes it takes and I get a full illustrated story. Sometimes it ends up in a pile of nothing… the ever growing pile of nothing…
What tools do you use for illustrating?
I’ll start with paper since that’s an easier answer: My go-to is basically just industry-standard Strathmore 300 Series smooth Bristol. It’s heavy and stands up to the abuse I can sometimes put a sheet of paper through. My pens are sort of shifting constantly because I’m a giant pen nerd. At the moment, I’m using Copic Multiliner and Micron tech pens because I’m loving the simple line I get from them, but I also employ various brush pens, markers, and crow quills. I am constantly experimenting with new pens and seeing what kinds of lines and results I can get from them.
What software do you use?
Digitally I just use an old copy of Photoshop Elements for cleanup and color. I’m not much of a colorist, so when I do use it, it’s very simple and Elements meets my needs for it, as does the ProCreate app on my iPad. I have played around with that quite a bit in the last year and colored almost all of my “Ink & Sunshine” illustrations with that. As for straight-up digital line drawing, I don’t do much, but when I do, I use Sketchbook Pro. It’s an older program. Kari Simms and I are developing a video podcast right now that involves live sketching and that is likely going to be our go-to software for that.
Do you have a favorite character out of all the ones you’ve created?
Not really… I have some affinity for a lot of them that I’ve told stories with. Some have just been drawings I’ve made in passing, then put into a folder with the idea “I’ve got to tell a story with this guy”, but as you probably know, the idea file grows fast and we’re forced to pick and choose what we have time for. I like a lot of my characters very much, but it’s tough to pick a favorite. If I keep drawing them, there’s something I love about them, and it’s different in each one.
What kind of story are you working on right now?
I have a couple ideas kicking around in my head, but I’m not really working on a story at the moment. I got into the podcasting world about six months ago and have been working with the crew at Blazing Caribou Studios. I have a few shows coming up with them and have been doing an illustration per episode for their “Varmints!” podcast, which I am finding to be all kinds of fun. It’s nice to take a break and do some stand-alone illustrations for right now.
Do you ever get into slumps or have periods of creator’s block? If so, how do you get out?
Of course I do, the trick is to not let it stop me from getting to the desk. For me the key is to keep showing up, even if no quality is coming out of it. If you want to get over creator’s block, you’ve got to create. You’ve got to draw something. You’ve got to write something. I think for me, a lot of it lies in forgetting that I have creator’s block and being open to ideas, even simple ones. If I see a person who looks interesting to me, I remember them, I go home, and I draw an exaggerated version of them in my sketchbook…I make something out of something I see. I take it the next step away from reality. That’s creating and it helps get the flow moving again.
Any advice for other illustrators or storytellers?
Write or draw every day. Lack of time is not an excuse. If it’s truly important to you, you will find the time.
Phil Rood’s website: http://philrood.com/
Phil Rood’s Facebook page: Phil Rood, That Illustrator Guy
Writing Bloc’s Best Reads July Edition. Welcome to the third post in our ongoing best of series, in which a few of our Writing Bloc contributors share their favorite read of the month. For the month of July, we hear from Becca, Jacqui, and Michael.
Becca’s Recommendation – We Are Okay by Nina LaCour
Jacqui’s Recommendation – Born a Crime by Trevor Noah
The book is laid out as several personal essays and Noah’s relationship with his mother is a continuous thread throughout the book. It is heartwarming and inspiring what the two of them made it through together, and through many of the events are atrocities that none of us would ever hope to live through, Noah delivers his story without bitterness and instead fills it with strength, comedy, and hope.
While I almost always opt for reading a physical book over listening to an audiobook, I generally make it through about one audiobook a month. This is one of those rare stories that I have to recommend experiencing in audiobook format. If you are a fan of Noah, you won’t want to miss him narrating his own story.
Michael’s Recommendation – Altered Carbon by Richard Morgan
I first heard about this book from author Peter Ryan, who said that it was one of his favorite science fiction stories. Fast forward about a year later, suddenly I’m having people ask if I’ve seen Altered Carbon on Netflix. Trust me, I’d like to, but I promised myself I’d read the book first. And I just finished it. Wow. This book is no joke.
Hard-hitting, thought-provoking, and thrilling, Altered Carbon delivers. Written in a fast-paced first person from the perspective of ex-U.N. envoy Takeshi Kovacs, Altered Carbon presents a unique and haunting future in which consciousness itself is transferrable between bodies (or sleeves), making death itself something of the past. That is, if you can afford the procedure.
The story takes place in a 25th century San Francisco (now dubbed “Bay City”), where Takeshi Kovacs wakes up in a new sleeve hundreds of light years from his home. He was brought to Bay City by Laurens Bancroft, a wealthy man who has re-sleeved himself enough times to live for hundreds of years. Laurens hires Takeshi to investigate his “suicide,” as he is convinced he was actually murdered. Under circumstances that make it difficult to refuse, Takeshi Kovacs takes on the assignment, and is launched into a dark conspiracy he never could have anticipated.
The story is compelling, violent, and incredible. I enjoyed reading it even more than I anticipated. And now that I’m finished, I can watch the show and see what everyone is talking about. But, probably not before I read the next novel in the series…you know, just in case. I hate spoilers.
Today we have author Susan K. Hamilton with us to discuss her upcoming novel Shadow King, releasing on October 2nd. Susan’s manuscript for Shadow King finished in the top 10 for the 2016 LaunchPad Manuscript Competition, which received over 1,000 entries from over 24 countries.
Welcome, Susan! Your book Shadow King is currently in production and set to release on October 2nd. Congratulations! Can you tell us a little bit about Shadow King and what inspired the story?
Thank you! In Shadow King, the world of Faerie has been destroyed by a corrupt, dark spell and all the Faerie races are forced to live in our world. Aohdan Collins is the Fae patriarch of Boston’s criminal underworld, and has worked relentlessly from the shadows to expand his empire. Everything changes, however, when he shares a shot of whiskey with Seireadan Moore. But Seireadan has her own secrets, and she’s looking for revenge against the person responsible for killing her family—and to get it, she may end up betraying the one she loves.
The inspiration for this story really came from one of the main characters: Aohdan Collins. I’d been trying to think of an idea for NaNoWriMo a few years back, and while raking leaves in my yard, the idea for his character popped into my head. From there I started to think about who he was, what he’d do, how he would move through our own world, and everything else came from there.
Aohdan Collins rules Boston from the shadows, and nothing stands in his way… until he meets Fae Seer Seireadan Moore. A shared shot of whiskey changes everything, but Seireadan is bent on finding the man who destroyed her family. And revenge always demands a high price. #books pic.twitter.com/vTnXXVOh1W
— Susan K. Hamilton (@RealSKHamilton) July 11, 2018
You describe Shadow King as Dark Fantasy. For those who many not know, can you explain some of the differences between Fantasy and Dark Fantasy?
That is actually a much harder question than it seems, and I have to confess, before Shadow King, I’d never written a dark/urban fantasy before. My work had mainly been more traditional fantasy.
But to answer your question, I would define dark fantasy as a story that takes elements of traditional fantasy and ties them to darker themes. In more traditional fantasy, you find mythically-inspired characters who occupy the moral high ground, and the story tends to have a very optimistic feel. Dark fantasy still has the fantasy themes but they’re often shown in a darker, grittier, more realistic light even if they happen in a fantasy world. If you change the setting of a dark fantasy to our real world, you also start adding the urban fantasy aspect to it.
Many people seem lump dark fantasy and horror together as well. I think the edges of both these genres bleed into one another but each also has very distinct and unique qualities, so I don’t think they’re the exact same thing.
Dark fantasy is also defined somewhat by the characters and their behaviors. In Shadow King, the heroes are dark heroes, and they do unsavory things. Aohdan is not a knight in shining armor—he’s a dark knight, but he has a very strong moral code that he lives by. He has a very strong sense of loyalty, responsibility, and of right and wrong—at least right and wrong as he views the concepts, which may be a little different than how readers perceive them.
Tell us a little bit about your writing process. Do you aim to complete a set number of pages or words each day?
In a perfect world, I try to do some writing every day, but things don’t always work out as planned. After finishing my manuscripts for Shadow King and The Devil Inside, I was “written out” and needed a break. I spent quite a bit of time catching up on my “to read” pile. However, recently I’ve been getting back to writing and working on some new projects.
What books by other writers have had the biggest influence on you?
The first would be Patricia Kennealy-Morrison. I read her Keltiad series years ago. I’m not sure they’re even in print anymore, but there was something about those books that I loved. They blended fantasy, science fiction, and Celtic mythology in a way I’d never seen. I loved her characters, the plot, the world she built… all three books just delighted me, and made me want to write something that (fingers crossed) would make people feel the same way.
Next would be JK Rowling. I’m sure lots of people would list her but what I admire about her work is her ability to take themes and make them not only understandable for children but engaging for adults as well. Plus her ability to craft a character like Snape. For so long in the book he is part of the darkness, the villain, the character you love to hate, but in the end, when his motivations become clear, it adds such depth of character. I aspire to have my characters be that three-dimensional.
And lastly, I would say both Donna Grant and Karen Marie Moning. Both write in the romance genre, but they have very strong fantasy/dark fantasy elements in their stories. They’ve built magnificent worlds that, for me, transcend a single genre. I love how they’ve built their worlds and constructed their stories. And then there’s the sex. Personally, I struggle mightily with writing sex scenes… finding that balance where it is steamy without being overly graphic, but also not skirting around the subject either. I find both Moning and Grant have a keen eye for this balance and reading their work has helped me more clearly define what I want my voice to sound like in this area.
Okay, one more. I’d also include David Eddings in here. I devoured his Belgariad series, and while I appreciate the foundation that Tolkien laid for the entire fantasy genre, the characters in the Belgariad were, for me, so easy to relate to and care about. He also, in my opinion, does a wonderful job drawing his story out over several books without it feeling forced.
All books say that characters are fictional, but are they really all made up, or do you base them on people you have known in your own life?
To this point, I’ve never fully based a character on someone I know, although in The Devil Inside—which will come out after Shadow King—I had jokingly told an old high school acquaintance that I’d write him into the book. I used part of his name for a character, and the number of his football jersey is incorporated into an address that factors into the story. I did not, however, base the character on his actual personality.
A good villain is hard to write. How did you get in touch with your inner villain(s) to write this book. Was there a real-life inspiration for him/her/it?
Because Shadow King is a dark fantasy, my primary characters have some traits that you usually ascribe to a villain. Aohdan is an underworld mob boss, and he didn’t get where he was by keeping his hands clean and following the rules. As someone notes in the story, “Bad things happen to people who cross Aohdan Collins.”
So it was important to me to find that balance between embracing Aohdan’s dark side but also the role he plays as a hero in the story. He’s not always a good guy but he’s got a very clear moral compass.
To create him I tried to keep in mind how characters were portrayed in TV series like The Sopranos and Sons of Anarchy. When you look at those characters on the surface, they are criminals. They do bad things. They hurt people. They also live by clear codes of loyalty and honor. So while you might not like the things they do, you become invested in them as characters and dive into what motivates them to behave the way they do. Hopefully that will come across to people when they read Shadow King.
Did you ever have a rough patch in writing, where nothing in the story seemed to fit or make sense?
I have them. All. The. Time. I even had one time where I ripped up 250 pages worth of work and started over from scratch because I was so frustrated with the story.
In Shadow King in particular there was one point where I was trying to do more of the story from the perspective of Seireadan, my female lead, and it meant rewriting some scenes that had previously been in Aohdan’s POV. Sometimes getting things from her perspective, because she’s not part of his inner circle to start, was hard.
And during my development edit, I had a definite writer’s tantrum where I knew—based on the editor’s advice— that I had to push the story out further, but it didn’t come easy. I ended up sending my editor probably a two page email just ranting about my frustration and how this didn’t work and that wasn’t lining up and I hated the whole story – and so on and so forth. Definitely had my “drama queen” crown on that day!
But the act of just dumping all that emotion and frustration out there, solved the whole problem. Halfway through the rant I had that, “ohhhh, that’s what I need to do” moment. I gave myself the next day off from rewriting and when I went back to it, things worked out great.
Did you have any differences with your editors while you were still becoming used to getting your work edited? How did you work through those differences?
Fortunately, I didn’t have a lot of major differences but we did have a few disagreements. It can be hard to get feedback on your book, especially about changing things. The important thing to remember is the editor is trying to be your ally, not your adversary. They want to take your already great book and make it an amazing book.
The big key to working through those things is communication. You need to be able to express why you made some of the choices you did, but you also need to really listen to—and understand—why the editor is questioning certain things in your story.
There were a few places in Shadow King where I looked at feedback and (I confess) I got a little defensive. When that happened. I put the manuscript away for a little while and then went back and looked at the comment again. Most of the time, after I’d allowed myself to noodle through what had been said, it made more sense. If it didn’t, I asked for clarification.
In a few cases, there were some things I held firm on because they were important–and because I was able to explain my reasoning, the editor also had a better understanding of the point I was trying to make and we were able to reach a point where I felt I stayed true to the story while finding a way to improve it.
My favorite question – If you were given the opportunity to join a book club with your favorite authors, dead or alive, who would you want to become a part of the club?
Some of these names will sound familiar, but I would say Lloyd Alexander, David Eddings, Kim Harrison, Donna Grant, JK Rowling, Karen Marie Moning, and Patricia Kennealy-Morrison because they’ve all written books or book series that have meant something special to me. I would love to hear their perspectives on other books and on writing.
Are you working on something new? And can you tell us a little bit about it?
I am working on something new. A couple somethings, actually. The first is a short story that I’m planning to submit for consideration in an anthology. I’m having a lot of fun with that, especially since I’m writing in first-person which is something I normally don’t do. It’s got some dystopian aspects and probably leans a bit towards supernatural fantasy.
I’ve also started tinkering with two new manuscripts. One is another urban/dark fantasy involving witches—the title right now is The Cardinal Witch. Along with that, I’ve also started some work on a follow up to Shadow King. Both are pretty new so I don’t have a lot to share yet, so I apologize for not having more details!
Any advice you would like to give to your younger self?
Most definitely! From a writing perspective I would tell myself to start writing sooner than I did. I loved to write as a little kid and then got away from it. I didn’t really get reacquainted with writing until I was in college. The other advice would be to be braver. Easier said than done, I know, but I wish I’d been more comfortable being bold when I was younger.
What advice would you like to give writers who are working on their first novels?
First thing is be persistent. Things don’t happen overnight. There will be people who reject you and people who don’t like your work. Learn from those things and get better because there ARE people out there who do like your work and who will support you.
Second, make friends with other writers and authors. They understand what you’re going through as a writer. They’ll support you when you hit a rough patch but they’ll also call you out on BS as well, and that’s important.
Third, learn to love imperfection. No story is 100% perfect in every respect. Make your work the very best it can be, but when you get there, let it go and let it be what it is. It won’t be perfect, but it is yours so love it just the way it is. I learned this after self-publishing my very first novel many years ago. I couldn’t afford an editor or anything professional really other than the cover (and even that was a big favor from an artist friend). I know if I went back and read that story now, I’d be horrified because I’m a better writer now than I was back then – but that book was the absolute best I could do at that point in my life, and I love it for all the things it taught me.
What is your preferred method for readers to get in touch with or follow you (website, blog, Facebook, Goodreads, etc.) and links?
Probably the best sites are Facebook or Twitter, and I’d love to hear from readers! You can find me all of these places:
Twitter: @RealSKHamilton / https://twitter.com/realskhamilton
Ambition. Betrayal. Revenge.
Centuries ago, the Faerie Realm was decimated by a vile and corrupt spell. To survive, the different faerie races―led by the Fae―escaped to the Human Realm where they’ve lived ever since.As the Fae Patriarch of Boston’s criminal underworld, Aohdan Collins enjoys his playboy lifestyle while he works from the shadows to expand his growing empire, until one night when he shares a shot of whiskey with the lovely Seireadan Moore…A Fae Seer, Seireadan is haunted by a vision of the Fae responsible for destroying Faerie and murdering her family. Common sense tells her to stay away from Aohdan, but his magnetism and charm are irresistible.As their passionate affair intensifies, Seireadan is pulled into the center of the underworld. And while her heart is bound to Aohdan, she cannot let go of her lifelong quest to hunt down the Fae who haunts her visions… especially when she realizes Aohdan might be the key to helping her find him.But is revenge worth betraying the one she loves?
Writing a crisp, adrenaline-pumping fight scene can be a challenge. Today we have a guest post from Kelsey Rae Barthel to examine how she approaches hers. Here’s Kelsey…
One of the most frequent compliments I have received about my first published book, Beyond the Code, is that readers love my fight scenes. My process for constructing these scenes is truly a love-hate relationship for me but I can’t argue with the results.
Writing the fight scene
Here are some tips on how you can make your own exciting and interesting action scenes:
- Plan every step: The keystone to a good action sequence in writing, as well as film, is careful choreography. It is imperative when writing a stimulating fight scene that you plan out literally every step, every move, and every attack. It all needs to be plotted out ahead of time before you write a word. This method will insure that you don’t lose your audience in a confusing mess of movements that don’t mesh. Like a puzzle, it all has to fit together flawlessly to make the big picture.
- Make it interesting: Another big part of weaving a pumping fight scene that will leap out at your readings is to constantly change up the moves. You can’t be satisfied with simple tit for tat throw down. You have to concentrate on making every attack inventive and new. Every battle is different and your warriors have to react and adapt to the changes. Keep it dynamite and always remember that there is always more than one way to accomplish your goal.
- But also, keep it grounded: Despite my previous talking point about keeping things interesting, it’s equally as important to keep your action grounded in reality to an extent. Now, keep in mind, I don’t mean you have to only write action that would happen in real life. Fantastic powers are a norm in genres like fantasy or science fiction. What I’m talking about is keeping the action grounded in what could happen in your world. If you go too far out of the realm of possibility, you may be breaking your readers’ suspension of disbelief. You always want your readers to believe that what’s happening is possible in the context of your story.
- Last but not least, don’t lose track of your characters: Above all else, remember your characters and what they can do. If one character that is involved in the fight has an ability to end it easily, you can’t conveniently forget about it in favour of a more drawn out brawl. Your readers won’t forget those details and will not hesitate to ask why you didn’t remember. You can either place a piece of dialog explaining why the character couldn’t end things easily or take them out altogether. Also, don’t lose track of the other characters in the scene. Realistically, if two people are fighting, their friends or comrades won’t just stand by while it happens. You can’t trap your side characters in a realm of inaction.
I hope you were able to draw some wisdom from my experience and I hope other writers out there decide to join me in writing action packed throw downs.
Kelsey Rae Barthel
Today’s guest post has been submitted by Kelsey Rae Barthel, author of Beyond the Code. Kelsey Rae Barthel grew up in the quiet town of Hay Lakes in Alberta, a sleepy place of only 500 people. Living in such a calm setting gave her a lot of spare time to imagine grand adventures of magic and danger, inspired by the comic books and anime she enjoyed. Upon graduating high school, Kelsey moved to Edmonton and eventually began working in the business of airline cargo, but she never stopped imagining those adventures. Beyond the Code is her first novel.
Beyond the Code
Check out Kelsey’s novel Beyond the Code.
To the common world, Aurora Falon is merely the pampered daughter of a rich and influential family. But to the secret world of The Order, she is Luna, the powerful and formidable warrior knight, under the rule of her master, Cole Iver. Together, they strive to bring down Damon Lexus, a wicked master who uses her knights in cowardly and dishonourable ways for her own selfish desires. But when they obtain evidence that may bring Damon Lexus under the judgement of The Order’s ruling power, The Hand Council, Damon makes a rash decision and orders the assassination of Cole Iver.
By pure coincidence, Luna catches Damon’s knight in the act but is too late to save her master and kills the assassin in a moment of grief stricken rage. Luna knows the one with her master’s blood on her hands is not the one she killed, she seeks the assassin’s master. But after a failed attempt at revenge, Luna is pulled from the depths of her dark anger and put on a better path by the Hunter who was ordered to kill her. Together, they will work to break away from being mere tools for the powerful and become heroes.
You can find Beyond the Code in the following places: